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Showing content with the highest reputation on 08/02/2016 in all areas

  1. I think Sojar has a point. Which is, don't throw the baby out with the bath water.
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  2. I didn't even think of that....my bad! Perhaps it will be best if the entries are not posted directly here and are just linked, like how Christian did it.
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  3. You know.... you are not the first person to tell me this. So it must be true to some considerable extent :D But I have exams to get into Academy of Arts and I have to give as much repertoir I can and it should be more than just piano instrumentation. So I cannot give myself vacation and be ok with it. But I should certainly lay down somewhere in the garden with a good book and chill for a bit. Thank you. As for the stage fright that is also very true. I got less nervous to train when people around me thanks to practicing on a piano in university and later in conservatory as well. But I know it's nothing when I train. But to play on exams or a concert I gett jelly fingers and cold sweat. BUT! I am going to fight that once more this year in internal concerts (which I ignored with an excuse I had two schools to go to and no time to stress over a concert with 10 people) so no time for self-pity here. :D
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  4. Just a few examples of audiable contemporary music (late 20th and 21st century): Kalevi Aho: Symphony no. 15 Uljas Pulkkis: Violin concerto, Flute concerto Magnus Lindberg: Clarinet concerto Witold Lutoslawski: Symphony 4, Piano concerto John Adams: most of his opus - selection: Short ride in fast machine, Harmonielehre, Violin concerto Stjepan Sulek: Symphony no. 6, Vox Gabrieli, trombone sonata (world famous hit) Einojuhani Rautavaara: Symphonies 7 and 8 Urmas Sisask: choral music, symphony no. 3 Peteris Vasks: Distant Light Etc, etc... I will agree that not more than 10% of modern classical music is garbage. You just have to find it unless you have been "brainwashed" by some people who had told you that music which does not use school based harmony knowledge and classical motif work is garbage.
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  5. Just wondering what will happen when the next entry is uploaded in this same thread... HINT: Quite possibly all entries will automatically play at once, resulting in an unglorious, unintended chaos.
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  6. I agree. I alluded to the neurosis of modernism where the prime directive is to be original, even at the expense of everything else. It's like you came up with a brand new way to kiss your wife, and she looked at you in disgust and said, What was that! And there's no getting around it! You cannot just drive the car, you must build your own road first. You cannot emote any hint of sentimentality because it doesn't fit the narrative. You see how quickly it all becomes absurd and soviet-like. But the neurosis is born of a type of political correctness, largely academic, where a hierarchy of composers and critics define the terms of what's serious and what's not. And I hate politics. It sullies everything and has no place in music. So, yes, Austenite, the heresy you speak of is real because you are not strictly following the bloody rules, the dogma. I do like modern music in all of its forms because I am a curious man. But I rarely seek out a second or third listening because the prime directive has become a bore. And deconstructionist music I can hear coming from a mile away. Real talent transcends some of these annoyances - I give you Ligeti - but even he is only worth a listen every couple of months or so, wWhereas I could listen Bach and all sorts of copy cats much more often.
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  7. yup. All I'm saying is that it feels like work, is almost entirely unrewarding, and seldom does anything to me intellectually or emotionally.
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  8. ...and by "21st century music" you actually mean: "avant-garde contemporary art music", right? I'm only being half-facetious, but really, a LOT of music has been made this century.
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  9. this is great! Nothing to say, only I like it. It has a sense of "egyptian march" in the beginning. The second section is great (when the strings play pizzicato). There's only one thing I would say: in the tutti (which are godd), the violin soloist is lost (except in the coda perhaps). I see (in the score) it has beautiful figures, but I can't almost hear it. Congrats!
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